Talbot Rice Gallery, The University of Edinburgh, Old College, South Bridge, Edinburgh, EH8 9YL

Fabienne Hess: Hits And Misses (from the archive)

Fabienne Hess: Hits And Misses (from the archive), installation view at Talbot Rice Gallery, 2015

Lengths of printed fabric enfold the gallery’s oval space. They feature a mass selection of digitalised images from the University of Edinburgh’s academic collections. Review by Alexander Hetherington

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Birch Contemporary, 129 Tecumseth St, Toronto, ON M6J 2H2

New Monuments Forget the Future

New Monuments Forget the Future installation view at Birch Contemporary 2015

In his 1966 essay ‘Entropy And The New Monuments’, Robert Smithson describes an architectural imagination that is fixated on the present. ‘New Monuments Forget the Future’ returns to the text with a meditative exhibition studying the changing cityscape. Rowan Lear reviews.

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Hayward Gallery, Southbank Centre, Belvedere Rd, London SE1 8XX

Carsten Höller: Decision

Two Roaming Beds (Grey), 2015. Produced with Bonniers Konsthall, Stockholm, and HangarBicocca, Milano. Installation view, Hayward Gallery, London, 2015.

Carsten Höller’s ‘Decision’ asks the viewer to reflect on the process of decision making. Accepting doubt and uncertainty, Höller intends the viewer to experience ‘moments of not knowing’. Review by Rory Duckhouse

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mac birmingham, Cannon Hill Park, Birmingham, B12 9QH

Cannon Hill Art School

Cannon Hill Art School

“At a time when so many art colleges in this country are now increasingly out of reach for most, Cannon Hill Art School will remind us of the reasons why art school practice today should be open to all.” Cathy Wade, Visiting Tutor at Cannon Hill Art School, responds to the project.

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Institute Of Contemporary Arts, The Mall, London SW1Y 5AH

Eloise Hawser: Lives on Wire

Installation view of Eloise Hawser: Lives on Wire, Institute of Contemporary Arts London (ICA)

Eloise Hawser’s exhibition, ‘Lives on Wire’ at the ICA, explores the bodily attributes of a theatre organ and its various afterlives. Review by Louisa Lee

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The Geffen Contemporary at MOCA, 152 North Central Avenue Los Angeles, CA 90012

From the archive: William Pope.L: Trinket

Installation view of William Pope.L: Trinket, March 20–June 28, 2015 at The Geffen Contemporary at MOCA

Through Pope.L’s intervention, the trinket is situated as what is shared among us—clumsy or privileged, embodied or discarded; trinkets bind us together. Review by Rusty Van Riper

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Storefront for Art and Architecture, 97 Kenmare Street, New York, NY 10012

From the archive: Amie Siegel: The Architects

Amie Siegel, The Architects, 2014 HD video, color, sound. Installation view, Storefront for Art and Architecture, New York, 2015

A cinematographic journey across architectural offices in New York City, from Fifth Avenue’s corporate bureaus to Downtown and Brooklyn’s lofts and warehouses, 'The Architects' investigates the cultural outcomes of economical models and labour in relation to the field of architecture. Review by Laura Herman

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BALTIC Centre for Contemporary Art, Gateshead Quays, South Shore Road, Gateshead NE8 3BA

From the archive: Jason Rhoades: Four Roads

Jason Rhoades, The Grand Machine, installation view at BALTIC, 2015

American consumer, pop and car culture collide in cacophonous excess in the sprawling, disordered installations painstakingly recreated for BALTIC’s formidable spaces. Review by Rowan Lear

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David Roberts Art Foundation, Symes Mews, London NW1 7JE

From the archive: The Violet Crab

Carter Mull, Disney / Warm Flame / Cool Flame, 2015 (courtesy the artist and Lindon Gallery); John Cecil Stephenson, Sketch For Solar House, 1955 (David Roberts Collection); Luiz Roque, Alvorada [ Dawn ], 2014 (courtesy the artist); Francois-Xavier

Gallery spaces are transformed into a cloakroom, backstage, main stage, lounge and shadow theatre through the elaborate staging of The Violet Crab at David Roberts Art Foundation. Jaime Marie Davis reviews

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Rowing, 3 Leighton Place, London NW5 2QL

From the archive: M’m! M’m! Good!

Mm! Mm! Good!, 2015, installation view. Rowing, London.

Art has a longstanding relationship with food and consumer culture. ‘M’m! M’m! Good!’ explores alternative ideas of sustenance, interrogating contemporary culture’s relationship with food and food production. Phoebe V. Bradford reviews

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